The 15 Best Actors Who Have Never Won An Oscar

Every awards season, movie fans and aspiring pundits across the country become obsessed with the ever-coveted Academy Awards. The longstanding awards show has long been considered the holy grail of the film industry and can often feel like an all-encompassing part of the discourse, particularly around the four acting categories. In the lead-up to Oscar Sunday, many of us debate who will win, and once the ceremony comes and goes, there are still debates over who should have won.

Amidst this hubbub, it’s important to remember that the Oscars are but a modicum of what represents the best performances in film. In fact, several of the best actors working today have never been given the honor of an Oscar despite years of treasured performances. The disparity between what Oscar voters love and what history remembers has always been a widening gap, but we can guarantee these 15 omissions from the winner’s circle are particularly egregious.

This list could frankly begin and end with Glenn Close. She is, of course, one of the brightest stars of the stage and screen, but pundits remain especially flabbergasted at her record-holding eight nominations and zero wins. This begs the question: when should Glenn Close have won her Oscar?

Close’s film career came out swinging in the 1980s, when she was nominated for best supporting actress three consecutive years in a row for “The World According to Garp” in 1983, “The Big Chill” in 1984, and “The Natural” in 1985. That kind of momentum should have earned her at least one win, but it never came to pass. When she was thrust into superstardom as Alex Forrest in “Fatal Attraction” in 1987, many believed her best actress nomination would clinch her a win. She lost to Cher’s beloved turn in “Moonstruck.” In 2019, what many saw as a long overdue win for “The Wife” was upset by Olivia Colman in “The Favourite.” She can’t seem to catch a break, but we’re confident that, at the right place and time, Close will finally see her grace, elegance, and warmth rewarded.

Despite being a household name, Willem Dafoe has never been regaled with an Academy Award. He has been nominated four times, and came closest to winning in 2018 with his universally praised supporting work in Sean Baker’s “The Florida Project.” Dafoe was first nominated in 1987 for his breakthrough performance in Oliver Stone’s “Platoon,” and also earned nods for his now lesser-seen performances in “Shadow of the Vampire” (now the first of two times Dafoe has taken part in the story of “Nosferatu”) and “At Eternity’s Gate.”

Though these four nominations are deserved, Dafoe’s career is full of awards-worthy turns that never saw proper recognition. This spans all the way from the beginning of his career with “The Last Temptation of Christ,” through his beloved portrayal of Norman Osborn, aka the Green Goblin, in Sam Raimi’s Spider-Man trilogy, and all the way to our current Dafoe-naissance with daring turns in “The Lighthouse,” “Poor Things,” and “Nosferatu.” As Dafoe continues to establish worldwide recognition and take on audacious roles, it’s only a matter of time before his goodwill across the industry finally snags him a little gold man.

This one is a particular sore spot for Oscar fanatics. Amy Adams is one of our finest working actors and, fittingly, has been nominated six times. She was first recognized for her breakout supporting role in 2005’s “Junebug,” after which she saw herself nominated for best supporting actress alongside co-stars who ultimately overshadowed her: Viola Davis in 2008’s “Doubt” and Melissa Leo in 2010’s “The Fighter.” Despite two more nominations for “The Master” and “American Hustle” afterward, it never felt like Adams’ perfect moment.

Then, the stars aligned. In 2017, Adams scored nominations from major precursors for her stunning turn as linguist Louise Banks in Denis Villeneuve’s “Arrival.” Many believed this was the role that could finally earn Adams an Oscar win, yet she was shockingly left out of the final five come nomination morning. Her omission remains one of the most memorable in Oscars history, and only grows more infuriating as “Arrival” continues spiking on streaming. To rub salt in the wound, her next nomination would be for arguably one of the Oscars’ most incredulous inclusions: Adam McKay’s potshot political satire, “Vice.” Geez.

Though he is a bit of a fresh face to include on this list, nobody can deny that the name Jake Gyllenhaal has become synonymous with quality. His bold career choices and transformative performances have made him one of film’s most unconventionally compelling leading men. His sole Oscar nomination for “Brokeback Mountain” is indicative of this; though his performance is the type to be traditionally nominated, Gyllenhaal’s commitment to portraying the film’s gay love story with the same sensitivity as any other heterosexual romance made its recognition historic.

Since “Brokeback,” Gyllenhaal has been lauded for numerous performances that have been ignored by the Academy. His most notable miss was for his revelatory lead performance as Lou Bloom in 2014’s “Nightcrawler,” a perfect crime thriller that was altogether robbed at the Oscars. He was nominated at every major Academy precursor, and many believed his transformation — weight loss and all — would secure him recognition. Other standout dramatic performances, including “End of Watch,” “Prisoners,” “Nocturnal Animals,” and “Stronger,” have also been overlooked despite scattered awards love. Come the next great Gyllenhaal performance, the Academy would be wise to finally give him his due.

In 1987, Sigourney Weaver shook the world of genre filmmaking when she was Oscar-nominated for her work as Ellen Ripley in “Aliens.” Though the character remains one of cinema’s most iconic, most horror movies are left frustratingly snubbed at the Academy Awards. Not only did she make it, but she did so only after breaking through a few years prior in the first “Alien,” when she was just 30 years old. In less than a decade, Weaver had cemented herself in Hollywood history.

Weaver’s exposure propelled even further when she became one of the few actors ever to receive two Oscar nominations in the same year — as lead in “Gorillas in the Mist” and as supporting in “Working Girl,” both in 1989. Though she didn’t win either award, you would think this kind of momentum guarantees a spot in the winner’s circle eventually. And yet, Weaver has never gotten another nomination, likely because little of her work since then has squeezed into the Oscar conversation. With roles in weighty dramas like “Call Jane” and “Master Gardener,” perhaps there is still some Oscar juice left in her.

It isn’t too surprising that Ed Harris has never basked in Oscar glory, for he has long been one of Hollywood’s most underappreciated talents. His characters, often institutional working men, are usually in the background, yet Harris’ intense conviction shoves him into the foreground. For his first two nominations, supporting actor for both “Apollo 13” and “The Truman Show,” he was the sole acting nominee for either film.

It felt like things could have come to a head with “Pollock,” Harris’ directorial debut and decade-long obsession in which he stars as the eponymous painter. Harris’ commitment to the role, such as painting everything himself, gave him a tremendous moment in the spotlight. Sadly, the “Gladiator” craze in 2001 overshadowed him and scored Russell Crowe the gold. Harris’ fourth career nomination, best supporting actor in “The Hours,” also had potential, as his unexpectedly tender role rode that film’s awards wave. This, too, was a miss. What we need is another stunning lead performance from Harris, which may finally kickstart the narrative he needs to get his due.

Many consider Dame Angela Lansbury a marvel of the stage and screen, yet the actor has five Tony Awards and zero Oscars. How does that happen? Well, all three of her best supporting actress nominations came prior to her Broadway success. Her first two, in 1944 for “Gaslight” and 1945 for “The Picture of Dorian Gray,” were impressive for a teenager who had only just started out, however that same novelty likely contributed to her missing both opportunities. Her third nomination for “The Manchurian Candidate” in 1963 was thoroughly deserved, however, ironically, the teenager wound up winning that time: 16-year-old Hally Duke as Helen Keller in “The Miracle Worker.”

In 1966, Lansbury won her first Tony for “Mame,” after which her star power steadily rose. From “Bedknobs and Broomsticks” to “Murder, She Wrote” to “Beauty and the Beast,” she eventually became a household name that would have easily secured an Oscar win had she gotten an additional nomination. Though that day never came, the Academy still honored Lansbury with an honorary award in 2014 before her death in 2022.

Edward Norton’s career began with incredible Oscars momentum. His debut film performance in “Primal Fear” kick-started things with a whirlwind that few stars ever experience, garnering him nominations from the Golden Globes, the BAFTAs, and, of course, the Oscars. His second breakthrough role, Derek Vinyard in “American History X,” garnered Norton even more critical praise and a major spotlight in the media given the film’s focus on white supremacy and neo-Nazism. Just two years after his first nomination, Norton scored another, making him a household name.

Norton continued to appear in several great films afterwards and became a prolific Hollywood force, however it wasn’t until “Birdman” in 2014 that he mustered another best supporting actor nomination. “Fight Club” was altogether ignored by the Oscars, while other performances in hits like “25th Hour” and “The Illusionist” fell under the radar. Though Norton has often been lumped into ensemble awards for his work with Wes Anderson and Rian Johnson, his individual talents have long been overdue for this quintessential recognition.

She may be most well-remembered for her turn as Catwoman in “Batman Returns,” but don’t let that fool you. Michelle Pfeiffer is an accomplished dramatic actor who has often come close to Oscar glory. Beginning with “Dangerous Liaisons” in 1988, Pfeiffer spent six consecutive years in the awards conversation and was nominated for several awards, including six Golden Globes and, more importantly, three Oscars. You could even argue she deserved a nomination for her breakthrough in “Scarface,” a performance that proved even Al Pacino wrong, five years earlier. That’s how deceptively excellent her career has been.

Pfeiffer’s nominations for “The Fabulous Baker Boys” and “Love Field” simply couldn’t compete with other major contenders that year, but, hey, who says her time as Selina Kyle didn’t deserve an Oscar nomination? What about her other lauded performances at the time in “The Age of Innocence” and “White Oleander”? What about her more recent, introspective work in films like “Mother!” or “French Exit”? There is so much to choose from, which many wouldn’t immediately assume. Similarly to Michelle Yeoh in “Everything Everywhere All at Once,” Pfeiffer needs a virtuosic lead role to usher her back into the limelight properly.

After losing his first potential Oscar in 2002, Ethan Hawke received some sage advice from a co-star: “Losing was better” (via Variety). That co-star was Denzel Washington, that movie was “Training Day,” and that moment set Hawke up for over a decade of humble pie. After losing his first bid for best supporting actor, Hawke wouldn’t see another acting nomination until 2015, when his tender performance in “Boyhood” earned him another nod in the same category. He still lost, which is still better! What’s worse, though, is to not even be nominated, which is the fate that befell his critically lauded yet subsequently snubbed performance in Paul Schrader’s “First Reformed,” the closest Hawke has come to the Oscar since.

Surprisingly, Hawke actually has four Oscar losses to his name. Two of them were for best adapted screenplay; he is credited as a co-writer on “Before Sunset” and “Before Midnight” alongside director Richard Linklater and co-star Julie Delpy. With a few writing and even directorial credits now under his belt, perhaps Hawke’s first win could come from behind the camera?

For those unfamiliar, Isabelle Huppert can best be described as the French Meryl Streep. The legendary, fierce-faced actor has been nominated for the Cesar, aka the French Oscar, 16 times, including two wins for “La Cérémonie” and “Elle,” the latter of which also garnered her sole Oscar nomination. Often cited as a pinnacle in the actor’s career, “Elle” was a hit at the 2016 Cannes Film Festival and thrust Huppert into the awards race as a strong contender for best actress. However, she lost that year to Emma Stone in “La La Land.”

Despite being named the second greatest actor of the 21st century by The New York Times and being a featured performer in other Oscar-nominated films (including past best international feature nominees “Amour” and “EO”), Huppert’s stardom hasn’t found much footing in terms of American awards season. Most international stars struggle to break through, but you would think Huppert’s slew of international awards, from a BAFTA to two Italian Volpi Cups, would earn her a seat at the table more frequently.

Remember when Gandalf was an Oscar nominee? Well, that was the last time Sir Ian McKellen saw glimmers of gold. The renowned and accomplished British stalwart is a beloved sci-fi and fantasy icon but, before all that, he was best-known for his portrayal of “Frankenstein” director James Whale in Bill Condon’s “Gods and Monsters.” The performance earned him his first Oscar nomination, sparking interest in what was previously a career more prominent in theater. The same year he was first nominated, McKellen was offered the roles of both Gandalf and Magneto, and the rest is history.

Despite the Academy giving a nod to Gandalf, McKellen has never been nominated as Magneto and hasn’t had much of an awards contender since “Lord of the Rings,” though there were light murmurings of some love for his take on an aging Sherlock Holmes in 2015’s “Mr. Holmes.” Considering he has been heavily lauded for his thespian work, including a Golden Globe nomination for “Richard III,” it feels like a jaunt in the realm of Shakespeare could earn McKellen a long-deserved third nomination and, dare we say, first win.

These days, it feels traditional to reward the performances in musical biopics. However, back in 1994, the honor came far less frequently. Nevertheless, in one of its most inspired nominations of all time, the Academy recognized powerhouse actor Angela Bassett’s definitive biopic performance as Tina Turner in “What’s Love Got To Do With It,” making her the sixth Black woman ever nominated for best actress. It would have been a glorious win, yet Bassett lost to Holly Hunter in “The Piano.”

Despite excellent supporting turns in films like “Strange Days,” “Akeelah and the Bee,” and “Notorious,” it took Bassett almost 30 years to see another nomination. In 2022, when the trailer for “Black Panther: Wakanda Forever” dropped, everyone could see that Bassett, in the wake of Chadwick Boseman’s death, passionately channeled her own feelings through Queen Ramonda, setting up an awards precursor domino effect all the way to the Oscars. Sadly, it was not enough to dethrone the industry popularity of Jamie Lee Curtis, who took home the award for “Everything Everywhere All at Once,” leaving Bassett “supremely disappointed” (via OWN). She was awarded an Honorary Oscar the following year, but we hope and pray Bassett is given another fighting chance to compete for a proper gold trophy.

If you want a prime example in the disparity between common consensus and the Oscars, look no further than Samuel L. Jackson. The man is the highest-grossing actor in history, known to audiences around the world for an unbothered, badass poise that has served cinema both high-brow (“Do The Right Thing,” “Django Unchained”) and low-brow (“Snakes on a Plane,” “The Avengers”). If it were up to the culture, he would have at least as many Oscar nominations as Meryl Streep, yet he sits with only one competitive nomination.

Admittedly, it’s for what’s arguably his most iconic role: Jules Winnfield in “Pulp Fiction.” The film’s multiple nominations and critical praise gave him a fair shot at the gold, but it’s tough to top Hollywood legend Martin Landau playing Hollywood legend Bela Lugosi, prosthetic makeup transformation and all. Jackson lost to Landau in “Ed Wood” and, since then, has remained empty-handed. He received an Honorary (read: long overdue apology) Oscar in 2022, but with no plans on leaving acting behind anytime soon, maybe he could stumble into some awards bait for old time’s sake?

Younger cinephiles may be unaware of the outstanding legacy of Peter O’Toole, one of Hollywood’s most revered classically trained actors. Well, it’s about time you studied up. At eight losses, he is posthumously tied with Glenn Close for most nominations without a single win. His most notable losses include his debut lead performance in “Lawrence of Arabia,” a historical epic that is now considered an all-time classic of cinema, as well as his dual turns as King Henry II in “Becket” and “The Lion in Winter.” O’Toole was such an industry titan that half of his nominations, including “The Ruling Class” and “My Favorite Year,” were their respective film’s sole Oscar nomination.

O’Toole was awarded an Honorary Oscar in 2002, but he still came to play with a nomination in 2006 for “Venus” at the ripe age of 75. This would be his final loss; O’Toole died in 2013, leaving him without a trophy. However, the greatest reward is that his memory will forever live on as Anton Ego in “Ratatouille,” a role that doesn’t need an Oscar nomination to enshrined in the history books.